Best 357 quotes in «narrative quotes» category

There are certain things in 'Twilight'... As much as I'm proud of that movie and I do like it, I feel like maybe I brought too much of myself to the character. I feel like I really know Bella now. But most readers feel like they know Bella because it's a first-person narrative.

There is enormous need for professionals who know how to tell stories with narrative punch and nuance, who can work proactively and not just reactively, and whose approach is multi-faceted. We need more "useful photographers.

There is a narrative to every life, and I believe in the classic mode of storytelling that goes back to Homer and carries through to today.

There is this idea of history as something you make, as a meaningful narrative with a beginning and an end, the end being a utopia of happiness that we'll reach through socialism or free trade or democracy, and then it will all be wonderful.

There is no single test or formula for producing moral progress anymore than there is for generating scientific truths. It is a process involving theoreticians, fact-gatherers, protestors, martyrs for the cause, authors of first- person narratives who change the way we see and evaluate the distribution of harms and benefits.

There's an obvious investment in some media circles in the "narrative" of "the pope who's finally going to get with it.

There's a great freedom of forms and intonations in Luigi Fontanella's poetry. He doesn't take a strong formal stand; his poetry entertains moments of nearly proselike colloquial narrative along with moments of powerful lyrical tension. There is a movement of extremes, from powerful tonality to near atonality, and I like this a great deal; it's a stance that very effectively catches the spirit that makes work in poetry possible nowadays.

There's a logic to dreams that doesn't necessarily follow linear narrative. You don't know why things happen, it's your subconscious pushing you, to give you information.

There were Hollywood movies and then there were those aggressively anti-narrative films that they showed at the Collective for Living Cinema.

The very act of story-telling, of arranging memory and invention according to the structure of the narrative, is by definition holy. We tell stories because we can't help it. We tell stories because we love to entertain and hope to edify. We tell stories because they fill the silence death imposes. We tell stories because they save us.

The truth is, narratives of self-justification burble beneath more of our relationships and endeavors than we would care to admit.

The truth about life was that nothing ever ended until you died, and even then you just left a whole bunch of unresolved narratives behind you.

The viewer is more likely to project their own narrative onto the picture.

The young today cannot follow narrative but they are alert to drama. They cannot bear description but they love landscape and action.

They lived in a great city, a metropolis of many narratives that converged briefly and then separated for ever, discovering their different dooms in that crowd of stories through which all of us, following our own destinies, had to push and shove to find our way through, or out.

We all have an ongoing narrative inside our heads, the narrative that is spoken aloud if a friend asks a question. That narrative feels deeply natural to me. We also hang on to scraps of dialogue. Our memories don’t usually serve us up whole scenes complete with dialogue. So I suppose I’m saying that I like to work from what a character is likely to remember, from a more interior place.

This unceasing interplay between experience and narrative is a uniquely human attribute. We are the storytellers, the ones who put life into words.

To me, it's just that social media is allowing people to be in charge of their own narratives.

Well, if storytelling is important, then your narrative ability, or your ability to put into words or use what someone else has put into words effectively, is important too.

Wearing clothes should be a personal narrative of emotion. I always respond to fashion in an emotional way.

We have a lot of long narrative poems written in the 20th century, but they're not very well known, and they're not read by very many people.

We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images.

What gets lost in the textbook is the overall narrative. It gets lost in all the boxes and all the photos and all the little stuff that's stuck in all the time.

We still have our larynx, we still have our minds and we still have our consciousness. We still have this gift to make things with words and images and get outside these preordained tropes and ways of thinking and the master narratives - what's handed to us.

We tell ourselves stories in order to live. We live entirely by the impression of a narrative line upon disparate images, the shifting phantasmagoria, which is our actual experience.

When I worked with Woody Allen, I only got the parts of the script that I was in. I was able to piece together the narrative from that, but I remember being quite excited to watch the movie - the movie that I was in but didn't know what happened in, like, 65 percent of.

What I've experienced, I'm trying to put in a narrative form, I suppose, to say that it does make sense in this way.

When I was young I wanted to make films and then I got into folk music when I was about 12, and started going to this folk club in Auckland. My dad [Barry Andrews] was in punk and post-punk bands, so I guess it was a side of music I hadn't really listened to before - the really narrative form of songwriting.

When you're looking through a magazine, what makes you stop and think is when you see an image and imagine the narrative that is going on inside of it. Those are the ones I make into paintings.

Whole swaths of the book [Lincoln in the Bardo] are made up of verbatim quotes from various historical sources, which I cut up and rearranged to form part of the narrative.

You know, we love stories and we love narrative; we love to get lost in an author's world.

Within a scantily plotted, novella-style narrative (the movie is an adaptation of a short story by Tom Bissell), single shots become story events that mere mention would spoil.

Word, image, and sound all must have primacy in the development of the narrative.

You get a lot of narrative energy from people who make really big mistakes, who act against their best interests, who do things that turn out to have serious consequences. It's very hard make a story out of people doing the right thing over and over again.

A journey or pilgrimage also follows the parabolic curve of an arch: it swings out from a known point and returns symmetrically to a point on the same line or plane, but farther along. For this reason, ancient philosophers chose the arch as a symbol for the process of interpretation. That is why teaching stories, such as those of Jesus or Buddha, are known as parables.

A book can be altered little by little, just enough with each teaching, to slowly change the meaning. The generation before would praise the reading of it but hardly recognize the minimal changes from one version to the next.

And the blabbing, the telling, was the messiest thing of all: getting control of language was getting control of anger and shame, and it was hard, hard to turn it around, to take the mess of experience and make something coherent out of it. Only then did you know that you'd got the better of the things that had happened to you: when you controlled the story rather than it controlling you.

All men needed to hear their stories told. He was a man, but if he died without telling the story he would be something less than that, an albino cockroach, a louse. The dungeon did not udnerstand the idea of as tory. The dungeon was static, eternal, black and a story needed motion adn tiem and light. He felt his story slipping away from him, beocming inconsequential, ceasing to be. He has no story. There was no story. He was not a man. There was no man here. There was only the dungeon, and the slithering dark.

All mists curl off the roof of my being. That confidence I shall keep to my dying day. :ike a long wave, like a roll of heavy waters, he washes over me, his devastating presence - dragging me open, laying bare the pebbles on the shore of my soul. It was humiliating. I was turned to small stones.

All mists curl off the roof of my being. That confidence I shall keep to my dying day. Like a long wave, like a roll of heavy waters, he washes over me, his devastating presence - dragging me open, laying bare the pebbles on the shore of my soul. It was humiliating. I was turned to small stones.

All plots tend to move deathward. This is the nature of plots. Political plots, terrorist plots, lovers’ plots, narrative plots, plots that are part of children’s games. We edge nearer death every time we plot. It is like a contract that all must sign, the plotters as well as those who are the targets of the plot.

A long list of propositions does not necessarily make a coherent argument

Anecdotes came with his DNA.

...and yet the idea is hard to accept, it's so hard to succeed in making something happen, even what's been decided on and planned out, not even the will of a god seems forceful enough to manage it, if our own will is made in its semblance. It may be, rather, that nothing is ever unmixed and the thirst for totality is never quenched, perhaps because it is a false yearning. Nothing is whole or of a single piece, everything is fractured and evenomed, veins of peace run through the body of war and hatred insinuates itself into love and compassion, there is truce amid the quagmire of bullets and a bullet amid the revelries, nothing can bear to be unique or prevail or be dominant and everything needs fissures and cracks, needs it negation at the same time as its existence. And nothing is known with certainty and everything is told figuratively.

A poet is someone who can use a single image to send a universal message.

An undergraduate researching the "witch hunt" cases asked for evidence that there had been more than one hundred cases, noting that the major lists of such cases added up to about fifty. There was no reply that provided documentation to support the claim.[34] The members of the list were generally strong proponents of the witch-hunt narrative. They knew the answer to the question “Is there a child sex abuse witch hunt?” These “witch hunters,” as those on this list soon came to describe themselves, were increasingly activists who used the internet to exchange information and ideas. Jonathan Harris may have done more than anyone else to disseminate the witch-hunt narrative in the mid 1990s and beyond.[35]

As anyone who has experienced it will know, war is many contradictory things. There is brutality and heroism, comedy and tragedy, friendship, hate, love and boredom. War is absurd yet fundamental, despicable yet beguiling, unfair yet with its own strange logic. Rarely are people 'back home' exposed to these contradictions — society tends only to highlight those qualities it needs, to construct its own particular narrative.

Arguments, speculation-- conspiracy theories of all kind. The usual thing, right? No one is ever simply assassinated any more. Ever since your Kennedys, it is always a matter of how many stories you can invent to explain the same body of facts. That is the great pleasure of conspiracy theory--not explanation, but narrative. It is like Scheherazade.

...a true narrative like time and tide must run its course and would respect no man.

As the language areas of the left hemisphere enter their sensitive period during the middle of the second year of life, grammatical language in the left integrates with the interpersonal and prosodic elements of communication already well developed in the right. As the cortical language centers mature, words are joined together to make sentences and can be used to express increasingly complex ideas flavored with emotion. As the frontal cortex continues to expand and connect with more neural networks, memory improves and a sense of time slowly emerges and autobiographical memory begins to connect the self with places and events, within and across time. The emerging narratives begin to organize the nascent sense of self and become the bedrock of our sense of self in interpersonal and physical space